How to Train Your Dragon
Fans of the original have no reason to seek out the live-action remake, which competently rehashes the beloved animated classic while adding almost nothing new.
Fans of the original have no reason to seek out the live-action remake, which competently rehashes the beloved animated classic while adding almost nothing new.
Slight but entertaining, this “from the world of John Wick” spin-off emphasizes over-the-top weapon-based fights over stylish hand-to-hand combat.
A Wes Anderson with all of the typefaces and upholsteries you’d expect, but none of the heart or soul of his best films.
This reboot-remake-sequel never strays far from what’s expected but succeeds thanks to cornball charm and some stirring fight sequences.
This pleasant-enough remake of the animated film never quite justifies why that animated film needed to be remade in the first place.
Taking itself seriously while defying audiences to do likewise, this eighth entry features enough globe-trotting, jaw-dropping action to make the nearly three-hour running time fly right by.
More snappy, shocking deaths in a satisfying sequel crafted to bring the mayhem to a conclusion. Maybe.
Something is rotten in the state of Verona — namely, this insipid Kidz Bop take on one of the greatest romantic tragedies of all time.
Entertaining Marvel team-up tale proves you can make a banquet out of odds and ends that were stuck in the back of the fridge.
Julien Elie’s stark, moody doc premiering at Visions du Réel ponders an Earth with no memory of the night sky’s stars, and a Texas town irrevocably altered by SpaceX’s promise of a colony on Mars.
Disney’s umpteenth live-action remake of an animated classic turns out to be another bad apple.
Jack Quaid’s hero can’t feel pain, and the energy-deficient movie can’t quite commit to its high concept.
Director Alex Parkinson remakes his own deep-sea doc as a narrative feature but gets lost in the shallows.
Norway won the Golden Bear this year in Berlin with the endearingly awkward ‘Dreams’ (‘Drømmer’), the final installment in Dag Johan Haugerud’s trilogy about contemporary relationships.
Might not reach the heights of its predecessor, but this latest adventure of the globe-trotting naif has all the heart, wit, musicality, and meaning that the Paddington franchise brings to bear.
This mediocre and thoroughly forgettable action-comedy will, one hopes, be but a bump on the road of Ke Huy Quan’s big-screen resurgence.
Alexandra Makarova’s elegant, psychologically complex Cold War drama plumbs the inner dislocation of exile, and the poisonous workings of tyranny.
Ivan Salatic’s magnificently moody, intelligent and doom-laden vision of Montenegrin freedom fighting and exile questions the formation and undoing of national myth.
This adaptation of the popular children’s-book series offers up hilarious gags and absurdist plotting, but a story this silly deserves more energetic pacing.
Steven Soderbergh’s effectively low-key chiller puts an already-dysfunctional family into a haunted house.
Leigh Whannell’s moody monster movie features gripping performances and effective jolts before running out of steam without fully pursuing its own ideas and metaphors.
Filmmaker Roberto Andò combines a wary humanism with expert storytelling to expose the anti-heroic truth about Garibaldi’s 1860 invasion of Sicily to overthrow the Bourbon monarchy and unite Italy, though the comic subplots running through the film tend to be distracting and hard to digest.
Our chief US film critic’s annual compilation of the year’s finest, including war, death, tennis, queer takes on pop culture, and hundreds of beavers.
Better than a CG-animated prequel to a remake has any right to be, but director Barry Jenkins’ time and effort could surely be better applied elsewhere.
This absurd (and violent) Spider-Man spinoff plays it so straight that it’s quite frequently hilarious, whether or not that was the intent.
Kyle Mooney’s teen disaster comedy ‘Y2K’ starts out promisingly enough before blowing 2000 opportunities for thrills, laughs, or insight.
Exquisite filmcraft and committed performances, yet Robert Eggers’ take on the silent-horror classic feels more like an adoring tribute than a rethinking or reimagining.
Nine films have been sent to the 2025 Oscars by African countries. Will any one get a nomination?
Shares most of the strengths and weaknesses of its predecessor, although at this point, novelty has sailed off to the seven seas. Kids who know the first movie by heart will delight in a second helping.
Ridley Scott displays his prodigious gifts for violence and camp in this Roman sequel, but there’s a lot of filler.
This search-and-rescue tale of a kidnapped Santa Claus doesn’t reinvent the action-movie wheel, but it’s a fun spin on holiday tropes.
A cadre of feral siblings teach a small town the true meaning of Christmas in a rare faith-based film that doesn’t oversell its message.
Robert Zemeckis’ fixed-camera observation of the passage of time is a slick and profoundly shallow movie aching for depth.
Nothing means anything in the conclusion of Tom Hardy’s comic-book trilogy, which makes it either a complete waste of time or a superhero movie in its purest form.
In his feature-film debut, painter Titus Kaphar exhibits his talents as a visual artist, if not as a screenwriter.
Jason Reitman’s print-the-legend look behind the scenes of the birth of a legendary comedy TV fixture succeeds on its breathless “let’s put on a show” energy.
This platitude-heavy infomercial for kindness benefits from strong performances and handsome production design.
Former ‘Baywatch’ star Pamela Anderson tests her indie art-house credentials in Gia Coppola’s ‘The Last Showgirl’, a slight but engaging portrait of an ageing Las Vegas dancer facing the existential terror of midlife redundancy.
Actor turned director Johnny Depp pays indulgent tribute to bohemian artist Amedeo Modigliani, and to himself, in the badly misjudged and barely coherent biopic ‘Modi, Three Days on the Wing of Madness’.
An imaginatively engrossing essay on feminism and motherhood, Paula Ortiz’s taken-from-history ‘The Red Virgin’ features an unforgettable Najwa Nimri as a stage mother out of hell, who sees her brilliant 16-year-old daughter as a sculpture she has created to change the world in 1930’s Spain.
Doomed lovers fight for their right to party in the melodramatic but visually impressive romantic thriller ‘Bound in Heaven’, a strong debut feature from Chinese writer-director Huo Xin.
An action-comedy that contains neither, this generic exercise will remain forgotten as Dave Bautista’s star continues to rise.
Lore-crazed fans will devour this animated prequel that is, at the very least, slightly more intentionally funny than the Michael Bay live-action franchise.
Animator Chris Sanders concocts a sweet fable about love, parenting, and finding your own path.
Joaquin Phoenix and director Todd Phillips return to their billion-dollar killer-clown origin story with the music-stuffed, lavishly staged but dramatically flawed sequel ‘Joker: Folie à Deux’.
It takes the combined power of George Clooney and Brad Pitt to maintain interest in this paper-thin farce about rival crime-scene cleaners.
White-supremacist violence in the US is an evergreen subject, but this docudrama about an FBI takedown of a racist cell plays like countless other feds-versus-terrorists thrillers.
Nicole Kidman delivers another emotionally and physically fearless performance in Halina Reijn’s provocative, kink-themed coming-out story.
Pablo Larraín’s third portrait of the private pain of a public woman exists most effectively as a platform for Angelina Jolie’s diva-as-diva performance.
Tim Burton’s energetically grotesque sequel proves you can go home again, even when that home is haunted.